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Archive for the ‘Camcorders’ Category
Wednesday, May 16th, 2012
We now live in a high-definition society. Most TVs are HD, Blu-Ray grows every month, and HD cable and satellite is a given. Back in 2003, when HD was in its infancy, a consortium of electronics manufacturers began working on a high-definition tape that would replace Mini DV. The idea was to create a new video format that would enable high-definition video to be stored on the regular Mini DV tapes that many consumers already had. They called it High Definition Video, or HDV.
Today, the idea seems quaint, since almost every camcorder is high-def, and tapeless to boot. But HDV provided excellent video quality, and we often see HDV tapes at Timeless DVD since many consumers took to the format. So if you’ve ever wondered what HDV was all about…read on.
How does HDV work?
HDV creates high-definition video in the widescreen, 16:9 aspect ratio. It can write directly to plain old Mini DV and DV tapes, and supports both 720p and 1080i definition. Like DVD, the format uses MPEG-2 compression and achieves the same bitrates of regular DV (25Mbps). Audio is written to MP3 and only compressed to 75%.
The downside of HDV
Unlike traditional DV encoding, HDV encodes to MPEG-2 (actually a format called MPEG-2-TS). MPEG-2 is the same format that is used on DVD discs, and so HDV is subject to the same compression issues.
The drawbacks of MPEG-2 technology can be best understood via a crash-course on “GOP,” which is an acronym for “Group of Pictures.” In American (NTSC) video, 29.97 frames occur during every second of video. In DV video, each frame carries complete data information, which is why DV video is so high-quality and takes up a significant amount of hard drive space.
MPEG-2 video, on the other hand, has been compressed so that only a few frames carry complete picture information. The other frames are space-saving, downgraded images of the real video picture. These downgraded frames aren’t noticeable when watching a DVD, but quickly become apparent during editing.
A typical GOP:
Each square in the diagram represents a frame of video. The I frames contain complete picture data and only occur a few times during each second of video. P frames are the second-most prevalent and “predict” what the video should look like based on the I frames. B frames are the most numerous and calculate data from both the full I frames and reduced P frames.
What this all means is that frame-accurate, high-quality editing is impossible with MPEG-2 video. It’s the reason why we tell customers over and over again: NO, it’s not a good idea to edit the video that’s on your DVD. So while HDV is a great video format and definitely useful for HD recording, its use of MPEG-2 encoding is its primary drawback–at least where editing is concerned.
One last note: If you do have HDV tapes and want to watch your video on regular DVD discs, Timeless DVD can accommodate you. We have decks that can downgrade the HD signal to regular standard-def video, and the results are actually pretty fantastic.
Saturday, February 18th, 2012
Taking the time to manually focus your camcorder may seem like a waste of time, since most current camcorders have awesome auto focus abilities. However, using the manual focus can help a great deal in certain situations.
 For instance, have you ever been in a large crowd and tried to tape a single subject–perhaps one that is far away? In these situations, auto focus can be a nightmare. Every time a person walks in front of you, the camcorder will refocus on the closer object, and your subject will become fuzzy as a result. Think of videotaping your child’s school concert; every time an audience member twitches in front of you, the camera refocuses on the movement and the kids on the stage become blurry. This is exacerbated if you are filming in a low-light environment!
So turn on your manual focus in situations where it’s not easy for the camera to keep your main subject sharp and clear. For best results, first let the camera auto-focus on the correct subject, and then turn on the manual focus. The camcorder should then keep its focus on the correct subject, at the same distance, without automatically changing to adjust to new items that enter the picture.
Thursday, December 8th, 2011
What do you do if you’ve outgrown your flip-type camcorder and need more power under the hood? Move up to a prosumer or professional camcorder! While the prices for these upper-level cams can go increase sharply from consumer models, it’s never been more affordable to own a very advanced video camera at home.
Prosumer or Advanced Consumer Camcorders
 Prosumer camcorders build on the capabilities of regular cams by adding more capabilities, such as increasing the light-capturing ability of the lens or the stability of the video picture. The sensors in these camcorders are also stronger, which results in a more colorful and detailed image. And the videographer stays more in control, because almost every setting has a manual option. For those interested in external mics or lenses, prosumer camcorders offer the ability to add all kinds of accessories as well. But keep in mind: the price also shoots up steeply at this level.
Two current examples of a prosumer camcorder are the Sony NEX-VG20 Interchangeable Lens Handycam ($1,600) and the JVC Everio GZ-HD6 (about $2,300). As its name implies, the Sony cam offers removable lenses, a feature often only found in professional video cameras. It also includes an extremely powerful microphone that can capture surround sound audio. The JVC (shown above) also offers standout features, from a 120 GB internal hard drive to a 10X optical zoom, a 3 CCD image sensor, and a plethora of output options.
 Professional Camcorders
The final group of video cameras is the professional level. The main factor that sets these camcorders apart is not additional features and settings, but the quality of the actual parts: the lens, sensors, mic, display, and more. Look for this type of camcorder if you want the very best video picture possible–and forget about cutting corners to save on the price.
Two examples of this type of camcorder are the Canon XH A1S (about $4,000) and the Panasonic Professional AG-HMC40 (about $2,000). While the Canon writes to HDV tape (unlike many current cams), it features three 1/3-inch sensors and a top-notch lens. It also offers a 20X optical zoom, image stabilization technology, and a wealth of manual features. The Panasonic cam possesses a slightly shorter 12X optical lens and 1/4-inch 3MOS imagers, and stores its HD video on a memory card.
So, what have we learned?
The best camcorder for you is determined by your needs. Do you need something super-simple and fast to use? Try a flip-type, entry-level cam. Or are you a seasoned pro who’s thinking of shooting some weddings or events professionally? Look at the prosumer and professional camcorders that offer extra settings and higher-quality parts.
One last word about the video camera that almost everyone carries already: the smartphone. Definitely easy, definitely convenient. But keep in mind that no multi-purpose electronic device ever performs as well as one that was designed for a specific job. Professional photographers don’t use smartphones to take photos, do they? (Many of them won’t even touch a “point-and-shoot” camera!) As a budding videographer, you shouldn’t either.
If you’re even remotely serious about shooting video, take a look at the video cameras on the market today. There’s never been a more inexpensive time to take the plunge.
Monday, December 5th, 2011
Who doesn’t have a camcorder these days? Thanks for small sizes and easy technology, camcorders can be used by everyone from a preschooler to a great-grandmother. But when you go into the store to buy a new cam, how do you know which one to choose?
The main differences between camcorders in 2012 is tied to the skills and needs of the actual user – ranging from casual shooter to professional. On the low end, camcorders have fewer features and specifications (such as a digital-only zoom). Conversely, high-end camcorders generally have better image sensors, larger built-in storage capacity, or more crossover features from digital still cameras. Therefore, knowing which features you need or want will dictate which level of camcorder you should purchase–and what amount you will wind up paying.
Today we’re going to discuss camcorders that are targeted at beginner and intermediate users.
Beginner/Casual Camcorders
 Entry-level camcorders are intended for those who want to quickly shoot and view video at a moment’s notice. They are usually compact in size and offer the lowest price points. Most of these camcorders store their video content on internal memory (via a small hard drive or Flash memory card), which means that you need to transfer your video to a computer in order to watch it. But to make this process simple, many cameras have a built-in USB plug that attaches quickly to your PC or Mac. In 2012, even these low-end camcorders feature a medium-to-high resolution.
Naturally, to compensate for their low prices, these camcorders do have drawbacks, usually in terms of additional features. For example, a low-end camcorder likely has an internal battery, which may not last very long between charges. Most of these camcorders only have a digital zoom, as opposed to the full-fledged optical zoom lens that appears in more traditional cams. And many do not have any form of still-shot photography.
Two examples of this type of camcorder are the JVC Picsio GC-FM1 and the Sony 3D Bloggie HD Camera, both in the $200-$250 range. Both cameras feature HD video, but lack an optical zoom. The JVC requires a removable Flash memory card, while the Sony features internal memory. The JVC is shown above in both front and back views.
Intermediate Camcorders
 For those who want more classic camcorder features, the next step up may be for you. Intermediate-level camcorders are priced higher than the Bloggie/Flip-type models, but still offer ease and convenience. Plus, they have many useful features, such an optical zoom (with a classic glass lens), optional manual settings, and more internal editing capabilities. Intermediate camcorders also generally last longer in terms of battery power, and since they are shaped like a classic camcorder, are more comfortable to use.
Two examples of intermediate-level camcorders are the Samsung HMX-H304 and the Canon VIXIA HF M31 (ranging from $500-$700, respectively). Both are high-definition video cameras that feature 3-inch LCD screens, significant internal memory, and a wealth of manual settings and features. The Canon is shown above right.
In our next post, we’ll examine the highest two groups of camcorders, which are aimed at prosumer and professional users.
Sunday, November 27th, 2011
Every current camcorder has a beautiful, color LCD screen, and it’s easy to use that screen when filming. However, switching to the viewfinder (the eyepiece) can be helpful in a number of situations.
 First, the viewfinder uses far less battery power than the LCD screen. Observe the battery percentage you have left on your LCD screen. Now close the screen and check out the same display through the viewfinder. See the difference in the remaining battery life? You can conserve your battery time if you simply close the LCD screen. And if your battery is getting low after using the LCD, you can eke out extra time by switching to the viewfinder.
The viewfinder is also much better when filming in bright light. Take your camcorder out into the sunshine. How well can you see the screen? But when you switch to the viewfinder, your face and the eyepiece block out the sun–giving you a clear picture for filming.
Using the viewfinder can also play a role in keeping your camcorder stable. It is always better to hold your camcorder close to your body, because the weight of your body helps to keep the camcorder steady. Since you have to hold your camcorder to your face to use the viewfinder, this happens naturally–unlike the LCD screen, which forces most users to hold the camcorder at a distance.
Unfortunately, viewfinders seem to be going the way of the dodo on camcorders. So if you have one on your own cam, count yourself lucky–and use it!
Monday, November 21st, 2011
Headed over the river and through the woods for Thanksgiving? If so, you might want to consider adding another device to your load: power!
We’re all attached to our electronics these days, from phones and iPads to camcorders and the all-important portable DVD player for the kids in the car. But these devices require battery juice to run–which isn’t always easy to track down when you’re away from house circuitry.
Luckily, there a number of portable power generators available that can recharge your devices. These compact, lightweight gadgets can power up cell phones, iPods, laptops, digital cameras, camcorders, and more. Products vary, from car-accessible to airplane adapters, so you may have to do some checking to see what type of generator fits your travel needs.
Here are a few portable power generators to start with:
 The Trent iDual-Port Pack IMP50D is an Apple-friendly device, and can charge a iPhone up to 3 times. It even has two ports so two devices can be charged simultaneously. It’s a great solution for recharging USB devices of all kinds, and gets high customer praise. New Trent offers a variety of other battery solutions as well.
The Stitchway UltraPower Battery Charger is the largest-power iPhone battery in a compact size, capable of fully recharging a dead phone in less than two hours. It can be recharged up to 400 times. At $10 or less, it’s also one of the cheapest options available.
The ReVIVE Series Solar ReStore External Battery Pack is one of many solar-recharging options available. It can recharge up to 1,000 times either by solar energy, AC, or USB power, and can charge up phones, MP3 players, and other USB devices.
Don’t get caught powerless this holiday season! Adding one of these little devices may save you from a constant refrain of “Are we there yet?”
Monday, November 7th, 2011
 Here in the Northeast, autumn leaves are always quite striking. Even though we are dealing with the effects of the Halloween snow this year, our trees are still lovely–even in November. Autumn colors can be gorgeous when captured on video as well. But how can you ensure that the colors “pop” as they do in real life?
Awhile ago, we blogged about “The Golden Hour.” Go back and read that post if you missed it, because the Golden Hour (also called the “Magic Hour”) is ideal for autumn filming. The Golden Hour is a time of day that occurs in the early morning as the sun is rising, and again in the evening when it’s setting. At this time of day, the light casts a golden glow across the changing leaves, providing warm, gorgeous tones for your camcorder.
However, act quickly! The Golden Hour soon dissolves into harsh daylight or graying dusk. Keep in mind that the Golden “Hour” doesn’t always last a full hour, and can be as short as fifteen minutes. So plan ahead, and set up long before you need to start shooting.
For advanced camcorder hobbyists, keep an eye on your white balance when filming the Golden Hour. Light changes continuously during the far low-angle positions of the sun at this time of year. So reset your white balance manually every few minutes in order to ensure correct color temperature.
If the Golden Hour isn’t your thing, pray for rain. A heavy, brief rainstorm can also provide amazing fall colors. When the sky is bright–as it often is after a good storm–the wet leaves will reflect that light and display rich, vibrant color.
And most importantly: if you want to record fall leaves, don’t wait! We’ll be well into winter before you know it.
Sunday, October 30th, 2011
Halloween is one of the best holidays ever. Who doesn’t love the opportunity to dress up and pretend to be someone else, just for one night? Or carving a pumpkin? Or decorating with cobwebs and scarecrows? (And did we mention the candy?!)
Here are some tips for budding family videographers on Halloween:
 Start at full power
Stock up on extra batteries or charge up your camcorder ahead of time. You don’t want a dead camcorder before the night is over.
Film your kids at dusk
You’ll get better, clearer video (with more color) if you film your children in their costumes before it gets dark. Take your shots, and then go out trick-or-treating!
Direct them to have fun!
Remember, you’re not taking still shots. Encourage the kids to act out their costumes and interact with their siblings or friends. Don’t make them pose–a definite buzz kill. Keep the energy going!
Take some “B-roll”
B-roll constitutes shots that are not part of your main footage–atmosphere, so to speak. So on Halloween, get shots of your house (especially if it’s decorated), your jack o’lanterns, the fall foliage…anything extra that evokes Halloween.
Don’t forget to film a cameo: You!
It’s all too easy for the camera person to be cut out of the video–and years later, you and your family will wish that you had jumped into the action more often. So switch off recording duties with your spouse, kids, or even a neighbor. Make sure you’re part of the recorded memories too!
On Nov. 1, make a note as to who was in which costume.
You may know now that your daughter was the Disney princess, her cousin Sarah was the witch, and their friend Brian was Batman. But if you don’t write this down on your tape or another label, five or ten years from now, no one who watches your video will know which kids were in your living room. Anyone can be anyone under a mask!
We welcome your comments! If you have any Halloween tips for filming video, add them below. And if you have some great Halloween videos on YouTube that you’d like to share with our audience of video hobbyists, we welcome those links as well.
Have a merry, creepy Halloween!
Wednesday, October 19th, 2011
Have you ever noticed that your VCR or camcorder has an option to select different recording modes? Most often, these modes will be called SP or EP. On certain units, you will also see LP or SLP. But all you really need to know is this:
Always use SP!!!
 SP is an abbreviation for “standard play.” SP is the best mode to use for videotape recording because it will provide the clearest and most stable picture, both on your VCR or camcorder as well as other decks. On VHS and 8mm/Hi8 tapes, using SP will enable you to fit 2 hours of video on a single tape. On Mini DV and Digital 8, the SP maximum is one hour per tape. SP was the original recording mode developed by JVC for VHS recording, and the first pair of heads on a VCR or camcorder is always devoted specifically to SP.
But what about LP, EP, and SLP? What are they, and why shouldn’t you use them?
Let’s start with LP, short for “long play.” You rarely see LP mode on VCRs these days, but the setting did exist, primarily on Panasonic VCRs. Back in the dark ages of the VHS v. Betamax format war, the one advantage Betamax had was its ability to record 3 hours on a single tape. VHS was still limited to only 2 hours per tape. So Panasonic developed the LP mode, which could fit 4 hours of video on a single tape. JVC, the original manufacturer of VHS, was furious with Panasonic, which had previously agreed to not develop a lower-quality, longer-recording mode. (But ironically, the development of LP played a large role in VHS’s eventual triumph over Betamax.)
However, the tradeoff is that LP provides lower picture quality than SP. In order to fit twice as much video on the same amount of videotape, the video tracks have to be packed closer together and the tape has to be pulled through the VCR at half speed. Eventually, four-head VCRs were developed to mitigate these problems. One set of heads, at a wide width, are used for SP, and provide optimum picture quality. The other set of heads are used for the lower-quality speeds (LP and EP/SLP) and prioritize on tape economy. But because this second set of heads are narrower–to accommodate the slower tape speed–there is a reduction in video picture quality as well.
JVC retaliated against Panasonic by developing the 6-hour recording mode. This speed can be called either EP (JVC’s term, meaning “extended play”) or SLP (Panasonic’s term, building on their LP terminology and meaning “super long play”). The principles behind EP/SLP are the same as LP: the mode uses narrower heads and slower speeds to write video to the tape at reduced quality. In this case, because the tape is being threaded even more slowly and the video packed onto the tape even more tightly, the resulting quality is worse than LP.
Why did we specifically address the JVC-Panasonic snafu? Because this manufacturer dustup actually played a role in how certain VCRs react to tapes. JVC was so annoyed with Panasonic that it intentionally designed its VCRs to play LP tapes terribly. Even today, we often cannot use JVC VCRs to play LP tapes–they track the tapes very badly, adding a pronounced jitter and occasional dropouts. Fortunately, the same is not true of EP/SLP; in fact, Panasonic’s decks are usually better than JVC’s for EP/SLP conversion work.
LP and EP/SLP tapes–whether they are VHS, Mini DV, or something else–are almost always harder to stabilize during a video transfer. Tapes recorded in these modes are much harder to track, and can also show more color issues, audio problems, and frame skips than those recorded in SP. (Mini DV camcorder guides even caution you against recording in LP!) If the tape has been in storage for many years, that can exacerbate these problems as well.
That is why we advise to always use SP. Using LP or EP/SLP was more understandable in the past, when videotape prices could be high. But tapes are not expensive these days. Buy a few more tapes and record in SP, if you are still using a VCR or tape-based camcorder. You will end up with better-quality recordings, and gain better results if you have your tapes digitized in the future.
Saturday, October 8th, 2011
 Have you ever wondered what silica gel really is? It’s common to get little packets of the stuff when you purchase everything from purses and suitcases to camcorders and other electronics. Many of us just throw it out, but camcorder owners should think twice before trashing it.
Silica gel is actually intended to absorb moisture. Its purpose is to alert the videographer when moisture is collecting around a video camera–a condition that can affect how the camcorder operates, and the tapes or media as well. When the crystals change color, that is a sign that moisture is present.
So keep it in your camcorder bag. Even pack it around the camcorder if you wish. And silica gel can even be reused; just heat it gently and it will be as good as new.
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